Charlie Wilson's War
James Newton Howard
" A track like 'Turning the Tide' sometimes makes all the difference, and here it rightfully does. "Written by Thomas Glorieux - Review of the regular release
There couldn't have been a busier time for James Newton Howard than right now. For the man in person, and for the fans, so to speak. Of course, we know all of his scores coming out recently were all written down months ago. Yet the fact of the matter remains that these composers must shift from genre to genre in days time and bring forward something extraordinary that will sooth the picture and give it its meaning. For Charlie Wilson's War, a.k.a. the return of Julia Roberts, composer James Newton Howard was brought in by director Mike Nichols to give the movie that meaning. Therefore he went from fantasy to the reality of today in a flash.
What's even more surprising, is the fact that Charlie Wilson became a better listening experience than I could have imagined in the first place. The score or genre thereof is not something that often inspires the composer to come up with something interesting and fresh. But sometimes, therein lies the greatest satisfaction, and Charlie Wilson is no different.
It starts with a simple, yet very effective track, where first Afghanistan is presented through eastern sounding instruments. However, it's clear how we shift genres when a solo guitar and later trumpet states Charlie's theme ever so calmly, only to be lifted up when strings carry it emotionally further than anyone expected. Also note how carefully the instruments carry you from the Eastern border to the Texan state, all in just a fluent movement. "Telex Machine" exemplifies this, where we get an Hawaiian feel and a couple of notes from the main theme itself.
It's not until "Refugee Camp" that we begin to understand the seriousness of the story. Newton Howard has done it before, easily creating an Eastern mood with his perfect understanding of the desired rhythm and tone. And like in Hidalgo, Charlie Wilson's War also flows easily from continent to continent. The ethnic vocals and instrumentation lead the way until percussion starts to set up a rather tense atmosphere where a single cord or incident could shatter the p(e)ace. The returning main theme, supported by guitar in "It's Up to Me", and the seductive "The Belly Dancer" all dance their way to this score's most talked about cue.
From the point on where people started to think about an 8 minute track, up to the point where they actually realized how Newton Howard would paint it, "Turning the Tide" has kept the fans busy in unraveling the rather unique sound of this score's most promising track. Call it a brilliant mix of the Eastern pace and the classical sound of Handel's Messiah, "Turning the Tide" is nothing but a mind boggling experience, where Newton Howard really has surprised us all. It's simply brilliant how both sounds work in unison to create a perfect waltz of urgency and emotion. It literally waltzes its way straight into your memory, and it's one of Newton Howard's strongest creations of all. From then on we go back to the soft "Where's it At, Charlie?".
"Balcony" is noticed due to the appearance of the very absent piano, and the closing main theme statements in "Honored Colleague" ends this political debate in a relieving manner. That is, until the Eastern rhythm takes over for the final few minutes.
All this together makes for a brief, but pleasant experience. The total length of this score barely surpasses the 30 minute mark, but truth be told, time will tell if any subsequent material would have been warranted. However, Charlie Wilsons War surprised me, since we easily could have gotten another effort like the drones of Michael Clayton. No matter how effective that score was, the listening experience couldn't warrant repeated attempts. Charlie Wilson has a feel that warrants this easily. James Newton Howard surely had a very busy year and it seems he will have to continue this insane fight for originality for quite some time. But it says a lot of the composer's respect for the movie in how he handled this assignment. A track like "Turning the Tide" sometimes makes all the difference, and here it rightfully does. Without it, it would have been a listening experience which had its moments. With it, it makes you wonder how on earth Newton Howard constructed such a lavish, classical inspired piece and made it sound Eastern. What's more, he made it sound darn right brilliant.
Tracklisting
1. Charlie Wilson (3.03)
2. Telex Machine (1.30)
3. Jailbait (1.03)
4. Refugee Camp (5.08)
5. It's Up to Me (2.39)
6. The Belly Dancer (2.41)
7. Turning the Tide (8.34) Excellent track
8. Where's It At, Charlie? (1.12)
9. Balcony (1.29)
10. Honored Colleague (5.54)
Total Length: 33.13
What's even more surprising, is the fact that Charlie Wilson became a better listening experience than I could have imagined in the first place. The score or genre thereof is not something that often inspires the composer to come up with something interesting and fresh. But sometimes, therein lies the greatest satisfaction, and Charlie Wilson is no different.
It starts with a simple, yet very effective track, where first Afghanistan is presented through eastern sounding instruments. However, it's clear how we shift genres when a solo guitar and later trumpet states Charlie's theme ever so calmly, only to be lifted up when strings carry it emotionally further than anyone expected. Also note how carefully the instruments carry you from the Eastern border to the Texan state, all in just a fluent movement. "Telex Machine" exemplifies this, where we get an Hawaiian feel and a couple of notes from the main theme itself.
It's not until "Refugee Camp" that we begin to understand the seriousness of the story. Newton Howard has done it before, easily creating an Eastern mood with his perfect understanding of the desired rhythm and tone. And like in Hidalgo, Charlie Wilson's War also flows easily from continent to continent. The ethnic vocals and instrumentation lead the way until percussion starts to set up a rather tense atmosphere where a single cord or incident could shatter the p(e)ace. The returning main theme, supported by guitar in "It's Up to Me", and the seductive "The Belly Dancer" all dance their way to this score's most talked about cue.
From the point on where people started to think about an 8 minute track, up to the point where they actually realized how Newton Howard would paint it, "Turning the Tide" has kept the fans busy in unraveling the rather unique sound of this score's most promising track. Call it a brilliant mix of the Eastern pace and the classical sound of Handel's Messiah, "Turning the Tide" is nothing but a mind boggling experience, where Newton Howard really has surprised us all. It's simply brilliant how both sounds work in unison to create a perfect waltz of urgency and emotion. It literally waltzes its way straight into your memory, and it's one of Newton Howard's strongest creations of all. From then on we go back to the soft "Where's it At, Charlie?".
"Balcony" is noticed due to the appearance of the very absent piano, and the closing main theme statements in "Honored Colleague" ends this political debate in a relieving manner. That is, until the Eastern rhythm takes over for the final few minutes.
All this together makes for a brief, but pleasant experience. The total length of this score barely surpasses the 30 minute mark, but truth be told, time will tell if any subsequent material would have been warranted. However, Charlie Wilsons War surprised me, since we easily could have gotten another effort like the drones of Michael Clayton. No matter how effective that score was, the listening experience couldn't warrant repeated attempts. Charlie Wilson has a feel that warrants this easily. James Newton Howard surely had a very busy year and it seems he will have to continue this insane fight for originality for quite some time. But it says a lot of the composer's respect for the movie in how he handled this assignment. A track like "Turning the Tide" sometimes makes all the difference, and here it rightfully does. Without it, it would have been a listening experience which had its moments. With it, it makes you wonder how on earth Newton Howard constructed such a lavish, classical inspired piece and made it sound Eastern. What's more, he made it sound darn right brilliant.
Tracklisting
1. Charlie Wilson (3.03)
2. Telex Machine (1.30)
3. Jailbait (1.03)
4. Refugee Camp (5.08)
5. It's Up to Me (2.39)
6. The Belly Dancer (2.41)
7. Turning the Tide (8.34) Excellent track
8. Where's It At, Charlie? (1.12)
9. Balcony (1.29)
10. Honored Colleague (5.54)
Total Length: 33.13